From a dark and stormy chapter of Canadian history comes a mesmerizing, Celtic rock-infused ghost story.

The infamous Black Donnellys come to life in Vigilante, Jonathan Christenson’s colourful adaptation of the tale of the hard-edged Irish immigrant family who settled outside London, Ont., in the mid-to-late 1800s. They ran into nothing but trouble and the family ultimately came to its end in an infamous massacre in 1880.

In the hands of Christenson, who wrote, composed and directed the musical, the story is told in a compellingly unique fashion, with the ghosts of the Brothers Donnelly putting an imaginary spin on how all the bad deeds might have gone down.

If you’re looking for straight-ahead facts about the infamous family, you’ll be disappointed.

If you’re looking for stage presence, plenty of spellbinding music, a sprinkling of humour, along with colourful — and, oh, yes, raw Irish brogue, you’re in for a treat.

Early on, as the brothers begin to tell the story — alternately in shades of white, grey and green — we hear that “the facts can get foggy” and “eventually only ghosts remain.”

The big-picture dream is for father James Donnelly (David Leyshon) and his new bride Johanna (Jan Alexandra Smith) to take a leap of faith, hoping to escape the Blackfeet/White Boys factional battles of Ireland while raising their young family in the New World.

Leyshon portrays James Donnelly as an idealist — again, any historians in the crowd might squirm in the seats — aiming to turn the other cheek while trying to teach his family the virtues of hard work.

Smith is thoroughly convincing as Johanna Donnelly. Her haunting soprano voice at first tells the story of a young bride who is full of hope about a new beginning, raising children in southwestern Ontario. As the battles escalate and she begins losing pieces of her family one by one, she spirals downward into fits of rage. That lost dream comes shining through in the mood swings and a memorable song of sorrow.

Solos aside, the rest of the cast rarely leaves the stage throughout.

The brothers, led by the eldest, Will Donnolly (Carson Nattrass), are each able to express their personalities while showcasing the dynamics of a large family. The brothers’ interactions with each other provide the verbal and physical comedy.

When not acting as brothers, however, the actors shift into ensemble roles as anti-heroes, the pack that serves as the White Boys, the Donnellys’ chief enemies.

All of it takes place on a relatively simple stage that includes the framework of an old barn. The cast is dressed in steampunk fashion, which helps create a feel for the mid 19th century.

The band, whose music has been described as dark Celtic rock, is placed on the outskirts of the stage. It’s not often over the top but is employed at strategic moments. The use of electric guitars helps to build tension. The fiddle, tin whistle, banjo and mandolin are more subtle but add to the foggy, ghostly atmosphere.

At the risk of spoiling the surprise, it’s a sad ending. It’s certainly not historically accurate, but it’s not meant to be, either. It is a wildly entertaining look back at a sordid piece of Canadiana.

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